kindertrauma

Kindertrauma Classic:: Don't Go To Sleep ('82)

Posted on By unkle lancifer

On December 10th, 1982 ABC aired the horror-thriller DON'T GO TO SLEEP at 9PM. This "ABC Friday Night Movie" was produced and directed by Richard Lang, executive produced by Aaron Spelling & Douglas S. Cramer, and written by actor/screenwriter Ned Wynn. The unique production combined BAD SEED-inspired evil child elements with the popular slasher movie formula of its day while still tightly embracing the heart of a classic gothic ghost story. The end result (in my opinion anyway) is arguably the best made-for-TV horror film of its decade.

When recovering from the death of a child maybe it's not a good idea to move into a house with the address of 13666.

Dad Phillip (Dennis Weaver), Mom Laura (Valerie Harper), daughter Mary (Robin Ignico) son Kevin (Oliver Robins), and cantankerous grandma Bernice (the great Ruth Gordon) are hoping for a new start after eldest child Jennifer (Kristin Cumming) died in a tragic car fire. All's well until the ghost of Jennifer seemingly appears before Mary, vocalizing a grudge that won't be satiated until the entire family is dead. Is Mary mad as a hatter and hallucinating her sister or has her devious sibling really come back for revenge? In any case, burning beds, iguana-induced heart attacks, rooftop falls and baths with electricity ensue. Eventually, Mary is prime suspect number one and is fitted with a child-sized straight jacket and shoved into a padded room where she recounts the genesis of the horror and becomes the poster child for those suffering from middle child syndrome everywhere.

Two scenes, in particular, seem to have been seared into viewer's memories deeper than others. One involves a pizza cutter being used as a threatening murder weapon (hey, this was during the eighties slasher boom when literally no tool found in a kitchen, garage, or barn was out of bounds as an instrument of death), and the other concerns the movie's door slamming mind-blowing closure. The latter delivers a visual so eerie that it boggles the mind how it could be so perfectly constructed without some kind of trickery. I won't spoil much here but it presents the creepiest Cheshire Cat grin I pray I'll ever have to witness. Not since I think, THE HAUNTING (‘63) has a singular image carried so much phantasmagorical weight.

Momentary lapses toward soap opera histrionics aside, DON'T GO TO SLEEP delivers an exceptionally dark vision of family dysfunction, sibling rivalry, grief, and finally insanity. Unlike the same year's ghost spectacle POLTERGEIST (which shares actor Oliver Robins) there's no "phew!" happy relief ending and few family members survive. You may need a neck brace for the way this movie's mood swings from campy to cutthroat to undeniably uncanny and back again. Absurdities abound (that pizza cutter!) but don't be surprised if this TV movie's final image is difficult to shake from your brain.

Trauma Scene:: The NeverEnding Story & the Death of Artax

Posted on By unkle lancifer

Wolfgang Peterson's 1984 adaption of Michael Ende's book THE NEVERENDING STORY presents a rich colorful world called Fantasia, which is strewn with many dangers. First and foremost is "The Nothing" which threatens to devour and erase everything in existence if a young hero named Atreyu (Noah Hathaway) can't find a way to thwart it. If that obstacle wasn't enough, the dark force elicits the aid of a horrific sharp-fanged giant wolf monster with glowing eyes called Gmork who steadfastly shadows Atreyu in hopes to rip him to shreds. Strangely enough though, THE NEVERENDING STORY's most traumatizing scene involves neither of these embodiments of evil but rather a mundane, in appearance, swamp. 

Early on in his quest, Atreyu and his trusty sidekick, a majestic white horse named Artex, are required to gain information from a giant turtle named Morla. To find Morla they must first travel through what is known as the Swamps of Sadness. Unfortunately, as one passes through said swamp they are taken over by depressive thoughts and hopelessness. Though Atreyu is at least partially protected by an amulet, Artex the horse succumbs to despair and begins to sink slowly into the mud. Atreyu almost laughs it off at first but then begins to realize his best friend may be beyond rallying. Atreyu desperately pleads with Artex to fight against the sadness that has overtaken him. He begs, "You have to try. You have to care. You are my friend. You have to move or you're going to die! Don't quit, Artex!" but to no avail. Suddenly the beautiful white creature has completely disappeared into the mud seemingly never to return and Atreyu is left devastated, lost and alone.

It seems impossible that a children's film could be so emotionally cruel especially at such an early stage of the story. As heartbreaking as the scene would obviously be to children, it also loudly resonates with anyone of any age who has ever lost anyone. It would be one thing to witness Artex gallantly die in battle or be physically defeated but something about his psychological turmoil and loss of will to exist is especially difficult to grapple with. Most stories directed at children inform us that we have the power to will ourselves to victory (think of Tinker Bell's resurrection in Peter Pan) but here even the most sincere and desperate pleas and prayers are coldly denied. It's like a harpoon of reality striking a fluffy cartoon bunny. We don't really even know Artex at this point in the story and yet of course we do; anyone who has ever loved anyone recognizes how Atreyu feels towards his friend. Death itself is eternally painful to deal with and when it's entangled with the demise of hope, it's somehow even harsher.

I've never been so happy to deliver a SPOILER ALERT in my life. After jumping through a zillion hoops we won't get into here, Atreyu's mission to save Fantasia is a success. Turns out there's a reason the film and book are titled as they are and The Nothingness ain't nothing compared to the power of imagination. Phew. During a victory lap we get to see the most comforting image to ever grace a screen, that of Atreyu and Artex riding together in full optimistic victorious glory (I have to say, there's only two types of people in this world, those who ball their eyes out during this movie and heartless monsters who should be avoided at all costs). I'm almost mad at THE NEVERENDING STORY for yanking on my heartstrings in such a brutal matter but how can I not be impressed that its depiction of loss is more devastatingly relatable than a thousand adult dramas that tackle the same subject put together. Watching it again as an adult, I can tell you it has lost zero of its impact, in fact, due to life experience, I can sadly relate to it even more. Damn those swamps of sadness.

Traumafession:: Cosmo M. on The X-Files episode "Badlaa"

Posted on By unkle lancifer

Oh, my goodness! The first time I experienced kindertrauma happened in 2001 when I was 7 years old and THE X-FILES was a popular tv show. Deep Roy played a character called the "Badlaa" which is also the title of the episode. In this episode, the little monster crawled inside you, and ate you from the inside out! His character seriously scared the crap out of me for years after I first witnessed him. I vaguely remember seeing him on a cart without any legs, starring into the camera after someone jumped into the pool, and exploding out of a dead person's stomach at the coroner's office.

The way he was depicted sitting on the dolly gave me the creeps. I had never seen anything that didn't have any legs before. Those shiny brown stubs, that I now know were just his knee caps, just made my imagination run wild. The fact that he didn't have legs was disturbing to me and the implications for how his character lost his legs made me lose sleep for years when I would imagine what the experience was like losing your shins.   

The pool scene was horrific as well. I remember there was a teenager that fell victim to the Badlaa in a pool, whom I could empathize with. My family would frequent the local pool in the neighborhood as well as the pool at my dad's local gym. Some folks have the unreasonable fear of a shark in the swimming pool, but not me. All I could imagine was Deep Roy swimming after me. It probably made me a better swimmer because if the thought of his character ever popped into my head, I would ace it to the edge of the pool and hop out.

Lastly, there was that scene when he pops out of a dead person's stomach when agent Scully was performing an autopsy, jeez! I can remember that hand popping out of that person's guts covered in blood sending shivers down my spine. There were blood streaks across the floor from where he scooted across after exiting the dead man's belly. Oh man, truly disturbing for a young child.

However, these experiences have led me to have an affinity to the horror genre. There's nothing quite like a good controlled scare; it helps us feel alive. Gets an emotion out of us that's also fun to experience. The gory scenes from the TV show set fourth my appreciation for the artform as well. Some of my peers don't quite understand why I like gory films. Obviously, they are fake but the effort people put in to make our stomachs churn is real and I'm thankful for all the hard work that goes into them. At the time when I was a kid, it seriously freaked me out but in my adulthood I'm thankful I have an appreciation for the artform of horror. 

Traumafession:: Director Chris Moore on Night of the Living Dead (1968)

Posted on By unkle lancifer

I wasn't usually allowed to watch horror films as a kid unless they were rated PG (or possibly PG-13 if my folks were feeling liberal) or if they were on TV where all the gore, sex, nudity, and language would be cut out. The general rule was that, if it was made before 1970 or so, it was probably okay for me to see. With this rule in place, I tried my hardest to find whatever appropriate horror films I could get my hands on. 

One night, while browsing the aisles of my favorite mom and pop video store, Video Library, I saw it. It was staring back at me, taunting me with its bright pink border surrounding a garish and gory piece of art in the middle. It reminded me of the outside of those cheap haunted house rides I'd see at the state fair every October. People were chewing on human flesh, a car was on fire, and a bloody woman was screaming at the bottom. I had to know what horrors were contained inside this tape!

I brought the tape to my father who inspected it, looked at the back of it, and nodded with approval. It was black and white and not rated. How bad could it be? He even said he'd watch it with me in case I got too scared. "Night of the Living Dead!", he said. "I remember this one. You'll be fine."

We got back home, popped the tape in the VCR, and the film started with a static shot of an old country road like many of the ones we had on the outskirts of town. The music was foreboding, but I had my dad there. What could go wrong?

While the first scene did make me uncomfortable, I didn't get the first true jolt until Barbara got to the farm house, went upstairs, and saw the decomposing head on the staircase. I shrieked when she did and covered my eyes. Maybe I wasn't ready for this. 

I got my wits together and powered through the rest of the movie, still uncomfortable and terrified I'd have to see that terrifying head again. This movie wasn't like the Vincent Price horror movies I'd seen. This was stark, brutal, and took no prisoners. No one was safe, including the audience. 

It wasn't until young Karen came towards her mother in the basement that I started feeling like I couldn't breathe and I might not be able to handle the rest of this movie. As she approached her hapless mother and grabbed a garden tool off the wall, I could feel my palms getting sweaty. Surely, they weren't going to show this, were they? As Karen backed her mother into a corner and started stabbing her to death, I ran out of the room, screaming. 

I didn't see the rest of the film for at least another decade and, if you want to know the truth, every time I see that scene, I still want to run out of the room. Thank you, George Romero, for giving me one of my first true horror film experiences. 

UNK SEZ: Our good pal Director Chris Moore (BLESSED ARE THE CHILDREN, TRIGGERED, A STRANGER AMONG THE LIVING) has an awesome new movie out called CHILDREN OF SIN and as usual, it's as thought provoking as it is fright inducing! Check out the trailer HERE!

Trauma-scene:: Superman III's Psycho Cyborg

Posted on By unkle lancifer

Some of the most interesting Kindertraumas come from the most unlikely of places. We're all somewhat prepared for freaky happenings in horror films but few would expect mental turmoil from a comic book sequel centered on the most wholesome flying alien to ever wear tights. To be fair, SUPERMAN III does consciously dabble in darkness when Superman (Christopher Reeve) becomes a rude, drunken version of himself after he's exposed to impure kryptonite but, as pointed out within the film, our heroes' bad side leans more toward faulty human than actual evil entity. Instead, SUPERMAN III's most notoriously frightening transformation occurs to perhaps the least likely character. Make no mistake, the scene in question is not one that unnerved a select few high-strung individuals, this is a capital "K" Kindertrauma that shook many a child. Rarely can you mention the movie SUPERMAN III without someone with the shell-shocked face of a war veteran whispering about, "That robot lady…"

I'll spare you the convoluted details that make up the plot of this comedic PG-rated adventure. Suffice to say that once again Superman is facing a troika of amoral individuals up to no good. In this case the trio (megalomaniac millionaire Ross Webster (Robert Vaughn), his henchwoman sibling Vera (Annie Ross) and his not so bubble-headed main squeeze Lorelei (Pamela Stephenson)) have solicited the aid of one Gus Goreman (Richard Pryor) who happens to be a wiz when it comes to computers. There's the usual tug of war between the superhero and his enemies and eventually everything culminates in a climax in an underground lair around a giant super computer that we're told can do anything and has seemingly become sentient. At one point Vera attempts to escape the mechanical beast only to be drug backwards by a laser beam and to be assimilated inside it. With her face visibly anguished, poor Vera has metallic pieces grafted upon her face as sparks fly and her eyeballs turn to silver balls. Suddenly she's an unwilling robotic zombie clamoring forward with a shocking ragdoll hairdo and lasers shooting out of her face.

On a visual level alone it's a disturbing display as this once relatively normal person is piece by piece transformed into some kind of TETSUO: THE IRON MAN ('89) by way of STAR TREK's "The Borg", half human/half robot hybrid. Adding to the intensity is the clear physical discomfort Vera endures as she is unwillingly overtaken. The resulting creature that emerges walks that freakish uncanny tightrope line between utterly ridiculous and incomprehensibly nightmarish. It's a bizarre sight to behold that screams of wrongness on a cosmic level. Of course, any reasonable adult would shrug off the entire sequence as high camp nonsense but any kid worth his salt recognizes an unholy abomination when they see one. Ironically SUPERMAN III inadvertently accomplishes what so many techno-thrillers tried and failed at, it actually makes technology legitimately frightening for a spell.

My personal favorite component of this iconic trauma-scene is the fact that it just so happens to involve the late great Annie Ross who I believe is the main reason the cinematic atrocity works so well and is so unshakable. Ross, besides being a legendary accomplished jazz singer who delivered stellar performances in PUMP UP THE VOLUME ('90) and Robert Altman's SHORT CUTS ('93), should be considered a great friend to the horror genre for her appearances in WITCHERY ('88) and most notably BASKET CASES 2 and 3 ('90 &'91). In Frank Hennenlotter's brilliant sequels to his cult classic BASKET CASE ('82), Ross portrays Granny Ruth a highly lovable advocate for non-normies everywhere who on occasion breaks into inspirational song. If that weren't enough horror clout, Annie even provided the speaking voice for Britt Eckland in the masterpiece THE WICKER MAN (‘73). The woman is a legend and it's all so very fitting that one of the many jewels in her impressive crown would be one of the most memorable and often mentioned kindertraumas ever. A quick cut conveys that after the ultimate computer is destroyed that Vera Webster returns back to her former self (most likely to face consequences) but for many folks who caught this flick at a young age, she'll be shooting off sparks and blasting off laser beams forever. Some traumas ya just can't unplug.

Five Favorite Things:: Hannibal by Chuckles72

Posted on By unkle lancifer
  1. Hannibal/ Mads Mikkelsen

Mention Hannibal Lecter to most people and they think of the character portrayed by Anthony Hopkins in Silence of the Lambs. I have no problem with that – Hopkins' portrayal is terrific. However, my favorite Hannibal is the character as portrayed by Mikkelsen.

Mikkelsen's Hannibal is quite different from the version appearing in SotL – he's exotic, charismatic and exceedingly polite (well, mostly). Many differences can be reconciled with other portrayals by the fact that "Hannibal" takes place largely before anyone knows about Dr. Lecter's criminality. He's free to practice as an elite psychiatrist, enjoying an aristocratic lifestyle and socializing with upper class nitwits that salivate in anticipation of the next spectacular dinner party that he hosts.

In an interview Mikkelsen described his portrayal: "To Hannibal, psychopaths are banal, as they all have a reason for killing: a f*cked-up mum, a dad that hit them, whatever. For me, he's the fallen angel: Satan on Earth, a man who sees beauty where the rest of us see horror." This kind of sums it up for me. The dapper, cultured intellectual Dr. Lecter is not merely a facade – he actually is those things while also being a remorseless, cruel, cannibalistic murderer. Satan on Earth.

  1. The rest of the cast

As I said, narrowing my list to a mere five favorite things is tough with Hannibal. I could easily fill out the remaining fours favorites with other cast members, but because I have so much ground to cover I'll begrudgingly lump them together here.

Starring opposite Mads Mikkelsen is Hugh Dancy as FBI special investigator Will Graham. Dancy gives us a Will Graham who is Hannibal's intellectual equal – brilliant but dysfunctional. Will immediately intrigues Hannibal because, while Will is a fundamentally good person, he also demonstrates the instincts of a killer. He can not only eerily reconstruct a psychopath's mind to aid the FBI's investigations, he can unleash his inner savage when he must. Dancy deftly treads a near perfect path through the tricky territory of his character.

Laurence Fishburne is Jack Crawford. After Hannibal I can't even remember who else has played Jack Crawford. This is probably my favorite Fishburne portrayal – his Jack Crawford is supremely pragmatic and quietly tortured by his failings. He's a great leader but, like almost everyone at the FBI, he falls under Hannibal's spell. Hannibal's dealings with Jack are some of the most harrowing of the series, as he pretends(?) friendship with Jack whilst secretly tormenting him.

Will's allies at the FBI include Jimmy Price (Scott Thompson of Kids in the Hall), Brian Zeller (Aaron Abrams of Blindspot) and most notably Hettiene Park as Investigator Beverly Katz. Beverly becomes Will's friend and offers him help when he is at his lowest point, and the outcome of her investigation on his behalf changes the way we, the viewers, see Hannibal Lecter.

I would be remiss in failing to mention the really funny portrayal of the infamously pretentious Frederick Chilton by Raul Esparza (Law and Order SVU). He gets some of the best lines of the series and just kills it with his animated expressions of fear and exasperation.

Gillian Anderson delivers an icy Bedelia Du Maurier, Hannibal's psychiatrist and sometimes-ally. Caroline Dhavernas is Alana Bloom, a psych professor that literally and figuratively hypnotizes Will. I could go on and on – the cast and characters are terrific.

  1. The Gorn

The bizarre and horrifying visuals in Hannibal set it apart from anything that has ever been broadcast by NBC – or any other major network. How to describe it? Well, Unk recently posted about Salem's Lot, broadcast in 1979 on CBS. Scary stuff! Remember that scene where Barlow materializes in Mark Petrie's house and bonks his parents' heads together? Well, imagine instead that Barlow slams his parents' heads together so hard that their skulls explode in slow motion and their brains erupt in a black fountain superimposed against a psychedelic, stylized portrait of Barlow's face. That's Hannibal.

Hannibal's highly stylized title sequence exemplifies some of the phantasmagoric visuals that appear in nearly every episode – usually these are depictions of Will's visions or hallucinations. Will is haunted by a dark stag-man representing the "Chesapeake Ripper", a serial killer that the FBI has hunted for years. In a memorable sequence, psychologist Alana Bloom transforms into an undulating, black seductress.

But of course what most people remember is the gore. Sure, Hannibal slashes, bashes and dismembers people in graphic detail, but that's just beans compared to the escapades of the other creative maniacs that tangle with the FBI. They carve victims into "angels", sew them into a "mural", twist them into string instruments or – good grief, the Totem Pole – you just gotta see it for yourself.

  1. Those other maniacs that I mentioned…

Hannibal starts out in an episodic format, featuring a new lunatic for Will and Hannibal (yes, he helps Will and the FBI) to hunt each week. Later, as the plot thickens, the need to introduce new crazies diminishes – we spend more time with recurring foes.

Some of the killers are memorable for their crimes. Hannibal is a gothic horror, so the killers don't just leave victims by the roadside – they transform them into symbols of their psychopathy. The Muralist selects victims for their interesting skin tones, The Angel Maker delivers "divine" punishment, the Bee Lady "cures" her patients by transforming them into zombie beehives. The bizarre visuals follow, of course.

Some of the killers are also memorable for the portrayals. Eddie Izzard recurs as Abel Gideon, an imprisoned killer surgeon whose mind has been so scrambled by Chilton's "treatment" that he is undoubtedly far more dangerous for it. Izzard goes a bit over the top, but he's funny and charming enough to smooth it out in the end. Jonathan Tucker, great at portraying villains, is Matthew Brown, the Chesapeake Ripper's #1 fan, who is anxious for approval. Lance Henriksen makes a brief but memorable appearance as a retired but prolific serial killer.

Spoiler Alert! Skip to the next section if you have not yet seen Hannibal and plan to.

Now that's out of the way, allow me to praise Richard Armitage as Francis Dolarhyde (The Tooth Fairy/Red Dragon). This is the third portrayal of this character that I have seen and I would put it up next to Tom Noonan's unforgettable Dolarhyde in Manhunter (1986). Like Noonan's Dolarhyde, Armitage's character is both utterly insane and simultaneously sympathetic. It's a great performance.

  1. The story – particularly the first half of Season 2.

The stories in Hannibal are well executed and, most importantly, carefully woven together into a narrative arc that spans all three seasons. The writers respect the audience, subverting our expectations and allowing us to make connections without exposition. For example, the first episode starts with a murder that is never mentioned again in the series, but careful watching leads to the conclusion that it ties directly into the last half of the third season.

I liked all three seasons of Hannibal, but the story in the first half (six episodes) of Season Two stands out. The opening minutes are probably the most shocking season opener ever. Will and Hannibal are kept at distance from one another and wage a deadly psychological war by proxy. Hannibal narrowly escapes death and then commits his most unforgivable crime. Will gains ground in convincing his allies that Hannibal is not what he seems, while imperilling his friends in his quest for evidence. Through it all, Hannibal maintains the upper hand through his careful manipulations, effecting Will's liberation and Jack's torment by materializing a ghost from his past. The end of episode 6 concludes with a shocking revelation and Hannibal's symbolic conclusion of his latest harpsichord composition. Great stuff.

Kindertrauma Classics:: Burnt Offerings (‘76)

Posted on By unkle lancifer

Robert Marasco first wrote BURNT OFFERINGS as a script for a film meant to be directed by Bob Fosse in the late sixties. When that project fell through, he turned his ideas into a 1973 novel that was successful enough to be given its own film adaption. Fate probably had the right idea because this time, TV horror heavyweight Dan Curtis (DARK SHADOWS, THE NIGHT STALKER) was enlisted to bring Marasco's story to the screen. William F. Nolan (who adapted two of Richard Matheson's tales for Curtis' TRILOGY OF TERROR) reverted Marasco's novel back to screenplay form adding more than a few frightening concepts of his own. The resulting movie would have little impact theatrically but a generation of TV viewers would eventually end up traumatized by it just the same.

Ben Rolf (Oliver Reed), oldster Aunt Liz (Bette Davis), wife Marian (Karen Black) and son Davey (Lee Montgomery) decide to spend the summer in a glorious, though visibly ill-kept mansion. The entire family is sick of city life and Ben just can't say no to the marvelous, low-cost offer to rent the place they've gotten from strange siblings Arnold (Burgess Meredith) and Roz Allardyce (Eileen Heckart). The only stipulation is that the duo's elderly shut-in mother who resides in an attic suite and is likely to be never seen, must be given a tray of food three times a day. Things go swimmingly well at first but soon everyone in the Rolf family is clearly negatively influenced by the house; Marian becomes obsessed with housecleaning; Aunt Elizabeth loses all her spunky mojo; and Ben begins to have visions of a creepy chauffer from his childhood along with murderous urges towards his son. Moreover, each time a family member takes a psychological blow, the house appears to grow stronger as if it's thriving upon their mental anguish.

BURNT OFFERINGS uncoils quietly for much of its runtime but every so often it cleanly lands a strike that leaves lasting scars. Ben's hallucinations of a smiling chauffer/hearse driver (Anthony James) are particularly memorably dreadful. This lanky harbinger of doom can easily be seen as a precursor to such cinematic grimacing ghouls as A NIGHTMARE ON ELM STREET's Freddy Krueger, POLTERGEIST 2 & 3's Reverend Kane and "The Tall Man" from PHANTASM (Note: BURNT OFFERINGS & PHANTASM both utilize to great effect the Dunsmuir-Hellman Historical Estate as the location for their horrific happenings).

If BURNT OFFERINGS wasn't exactly built as an Oscar contender nobody seems to have informed the cast, all of whom bring their scene-chewing, A-game to the material. One truly disturbing scene involves Oliver Reed's Ben transforming from protective father to rage-faced monster in an instant. While swimming in the backyard pool with son Davey, Ben turns an innocent moment of horseplay into a near drowning incident. The parent-on-child violence is hard to behold at any age and the sequence skillfully stokes both a parent's fear of losing control of their emotions and a child's fear of being physically overtaken by a suddenly unrecognizable guardian. Stephen King has admitted to being a fan of the original book and it's not hard to believe at least some of the horrifying nature of this pool scene dripped its way into his THE SHINING.

BURNT OFFERINGS was not a success with audiences or critics upon release. In a decade very welcoming to supernatural elements in film, it actually lost money. No matter though, Dan Curtis' more familiar stomping ground, television would eventually insure that Marasco's tale left its rightful mark upon viewer's psyches. I can tell you from experience that this was a movie that played very often in late night syndication and perhaps it just naturally worked better on the more patient small screen. It's a film that offers no happy endings, that spares no one (look out for that falling chimney!); a wicked chiller with a many-pronged downbeat conclusion (one fate even mirrors Curtis and Black's previous brilliant effort, TRILOGY OF TERROR). Like most horror films, It's especially powerful when viewed right before bed, when the mind is more vulnerable to the unsettling vibes it delivers. Critics and cynics can scoff all they want, like the house it depicts, BURNT OFFERINGS will always quietly have the last laugh.